The Eagles - Hotel California

 

With the departure of guitarist Bernie Leadon and Joe Walsh being his replacement, it was always likely that the next Eagles album would to some degree move away from country rock to a harder edge, given Walsh's most prominent piece of work, at least in the UK, was the hard rock/blues influenced "Rocky Mountain Way".

"Hotel California" represented a change of direction in several subtle ways. It contained two songs which might be considered to be hard rock, "Life In The Fast Line" and "Victim of Love", as well as the anthemic title track with its lengthy dueling guitar outro, showing that the Eagles now wanted to rock. The move away for their traditional country rock was also illustrated by Glenn Frey having only one lead vocal, on the gentle "New Kid In Town", which in any case was dominated by electronic organ rather than acoustic guitars. More importantly, with Don Henley was now lead vocalist on five songs of which two of these could be considered to be piano ballads, in addition to "Pretty Maid In A Row" sung by Walsh, which also fitted that description.

Lyrically the songs tended to concentrate on the loss of innocence, failed romances, or the dark side of capitalization. The only uplifting song was Randy Meisner's "Try and Love Again" which ironically was the only track I didn't properly remember, drifting to PP Arnold's "The First Cut Is The Deepest" when trying to recall the line "I'll try and love again" !

That said, "Hotel California" was an outstanding release without a poor track on it, and was their break-through album to global megastars, at least from the eyes of the UK.

Much has been written about the title track "Hotel California" a soaring classic of over 7 minutes, covered by many artists, including a Spanish flamenco version by The Gypsy Kings, and well-known for the alternate guitar solos by Felder and Walsh, before harmonising for the finish. The song contains several lines that have gone down in folklore such as "You can check-out anytime, but you can never leave", "Here mind is Tiffany twisted, she's got the Mercedes bends", & "Mirrors on the ceiling, the pink champagne on ice, she said we are all just prisoners here, of our own device". Incredibly, it remains The Eagles only top 10 release in the UK, peaking at number 8.

"New Kid In Time" was perhaps an odd choice for the first single from the album, although it was probably the closest to their previous portfolio. Featuring a prominent organ melody, gentle guitars, Frey's vocal, and traditional Eagles harmonies, it wouldn't have been out of place on the 1971-75 Greatest Hits album.There are several interpretations on the lyrics, but I see them more on as being a commentary on the music industry, one minute they are the flavour of the month, and then somebody new comes along that everyone fawns over.

The rock and roll "Life In The Fast Lane" has a classic guitar riff but apart from that is the most ordinary song on the album, and when chosen for the third single from the album, it failed to chart in the UK but reached number 11 in the USA. I bought the single for 10p in a shop that sold old juke-box singles !

Closing Side One is the piano ballad "Wasted Time" sung by Henley, which increasingly features strings as the song develops. A song on broken relationships the memorable lines include "you didn't love the boy too much, you just loved him too well" before closing with "So you can get on with your search, baby, and I can get on with mine. Maybe someday we will find, that it wasn't really wasted time".

Side Two opens with "Wasted Time ( Reprise )", a short, string version of the chords of the side one closing number. It's nice, but I'm not sure why it is on the album.

"Victim of Love" is the second rock and roll song on the album, which plods along nicely with a mid-tempo, another Henley vocal, picking up with a great chorus and memorable guitar solo. "I could be wrong but I'm not".

"Pretty Maids In A Row" is Joe Walsh's main written contribution to Hotel California, and unexpectedly has a piano intro and a slow temp. Walsh delivers a tremendous vocal, and together with nice harmonies and a tender guitar break, it is a memorable melancholic ballad.

The mood changes with Randy Meisner's "Try and Love Again", which 45 years later is stunning to hear again. After a pleasant guitar intro, Meisner fabulous high pitched vocal, great harmonies and a pedal steel guitar solo make it a joyous song, slightly out of place with the rest of the LP. "Will I lose or win if I try and love again". I had forgotten just how good this song was !

The album closes with "The Last Resort", another slow piano ballad sung by Henley. A critique of capitalism and concerns over the environment, there are many striking lyrics. "They even bought a neon sign, Jesus is coming" refers to the first neon light on Hawaii being by the Church, but there is also "some rich men came and raped the land, nobody caught them". and  "you call some place paradise, kiss it goodbye". It is a beautiful song, with perhaps the highlight being the soft, solo piano before the powerful last verses.

In summary, Hotel California remains an outstanding album that still sounds great 45 years after it's release and quite rightly place The Eagles in the Parthenon of all-time greats. It represented a level they would never be able to repeat.

Track Listing :

Side One :

1. Hotel California
2. New Kid In Town
3. Life In The Fast Line
4. Wasted Time

Side Two :

1. Wasted Time ( Reprise )
2. Victim Of Love
3. Pretty Maids In A Row
4. Try And Love Again
5. The Last Resort

Released 1976
UK Chart Position : 2

Singles :

New Kid In Town ( No 20 - 1976 )
Hotel California ( No 8 - 1976 )
Life In The Fast Lane (  - 1976 )

The Eagles - Their Greatest Hits ( 1971-75 )

 

According to Wikipedia, the Eagles' Their Greatest Hits ( 1971-75 ) album is the best selling greatest hits album of all time worldwide, and the fifth best selling all-time album, behind Michael Jackson's "Thriller", AC/DC's "Back In Black", the sound track to Whitney Houston's "The Bodyguard" and Pink Floyd's "Dark Side Of The Moon".

I have to admit that I only purchased the LP after buying their "Hotel California" release ( the 6th best selling LP of all time ! ) and didn't know too many of the songs on it at the time, Indeed, in the UK only three of their greatest hits had made the top 30, and none of them were top 10 hits. But it still went onto to be the 5th best selling global record of all time.....

I was probably guilty of following the crowd when I purchased the album. I was familiar with a few of the songs, especially the country/folk rock of "Take It Easy" and "Lyin' Eyes" but thought the backing vocals on "One Of These Nights" and "Take It To The Limit "were akin to screeching cats  ! I was unfamiliar was all the other songs though.

However, after a few plays I came to realise, like most of the planet, that here was a collection of outstanding songs, even if they were not properly promoted at the time to be hits in the UK.

The Glenn Frey/Jackson Browne composition "Take It Easy" opens side one, and is my favourite song in this collection. Having also heard Jackson Browne's version, I find the Eagles' version to be superior, it seems to simply flow much better. Apparently there is now a statue of Frey on a corner in Winslow, Arizona after the lines "Well, I'm standing on a corner in Winslow, Arizona, such a fine sight to see. It's a girl, my lord, in a flat bed Ford slowing down to take a look at me"

Don Henley performs the vocals on "Witchy Woman", a song about a seductive, manipulative, sexy women, with the guitar having an blues feel to it. When I first heard it I thought it was something that a Soul/R&B band like Tavares might have recorded, although hearing it again I don't know where I got that impression from ! However, it's my least favourite track on the album and some of the high notes sound painful !

The gentle country/folk rock feel returns with "Lyin' Eyes", which Frey reportedly stated was inspired by seeing many beautiful women accompanied by fat, ugly older men in restaurants in Los Angeles barely able to hide their lying eyes. Starting off with "City girls just seem to find out early, how to open doors with just a smile" the whole songs is crammed full of carefully crafted lyrics. The album version is over 6 minutes long, although it was brutally shortened for the single. Thankfully, the full version is presented here.

"Already Gone" is a more up-tempo country rock cover sung by Frey. It's a song about a relationship breaking up. "And they said you were gonna put me on a shelf, but let me tell you I got some news for you. And you'll soon find out it's tryu, and then you'll have to eat your lunch all by yourself"

Henley returns to sing the soaring ballad "Desperado", a song about an older man scared of commitments. "Desperado, why don't you come to your senses" & "You better let somebody love you, before it's too late".

Side Two opens with "One Of These Nights", not to dissimilar to "Witchy Woman" in style, but vastly improved. It was a number one in the USA and their first chart success in the UK. Henley is the lead vocalist, although bass player Randy Meisner sings the high harmony in the refrain, with hints of the Bee Gees. "I've been searching for the daughter of the devil himself, I've been searching for an angel in white. I've been waiting for a woman who's a little of both, and I can feel her, but she's nowhere in sight"

"Tequilla Sunrise" is about a guy who is infatuated with a girl who doesn't seem to know he even exist, and he drinks trying to pluck up the courage to speak with her. Another country/folk song sung by Frey, with The Eagles' trademark harmonies

"Take It To The Limit" is Meisner's only lead vocal on the album, which he co-wrote with Henley and Frey, and is famous for the high notes he hits during the dramatic, slow ballad. "You can spend all your time making money, you can spend all your love making time"

 "Peaceful Easy Feeling" is another pleasant country/folk song sung by Frey, and is the second song on the LP not written by the band, both of which were either written or co-written by Jack Tempchin. The title is actually a perfect description of listening to the song !

Side Two ends with the sweet, melodius sounding "Best Of My Love" but it is actually about a relationship breaking up. "I'm going back in time and it's a sweet dream. It was a quiet night and I would be all right if I could go on sleeping". It was the band's first US number 1.

Overall, this remains a classic greatest hits collection from one of the world's best selling bands.

Track Listing :

Side One :

1. Take It Easy ( 1972 - )
2. Witchy Woman ( 1972 -  )
3. Lyin' Eyes ( 1975 - No 23 )
4. Already Gone ( 1974 - )
5. Desperado ( 1973 -  )

Side Two :

1. One Of These Nights ( 1975 - No 23 )
2. Tequilla Sunrise ( 1973 - )
3. Take It To The Limit ( 1975 - No 12 )
4. Peaceful Easy Feeling ( 1972 -  )
5. Best Of My Love ( 1975 -  )

Released 1976
UK Chart Position : 2

Kirsten Adamson - In A Big Country

 

 Not exactly a Lockdown LP, but this version of a song on an album previously featured warrants further attention.

https://fatbearslockdownlps.blogspot.com/2020/05/big-country-crossing_7.html 

Kirsten Adamson is the daughter of Stuart Adamson, whose song "In A Big Country" was a 1983 hit single for Big Country and an epic track on their debut "The Crossing" album. Whereas the original  version conjured up heroic visions with swirling bagpipe guitar, pounding drums, epic guitar solos and poetic lyrics, his daughter's interpretation is amazing different, with just a slow acoustic guitar and an angelic vocal. Just superb.

It's probably the finest song I have heard this year, and deserves a much wider audience'

Here is a link to the YouTube performance of the song : https://www.youtube.com/watch?v=9b8NKVcb3w4

 

Duran Duran - Decade

 

Duran Duran's greatest hits album was one of the last vinyl LP that I ever purchased, being released in 1989, and beaten probably only by the Eurythmics' Greatest Hit album that come out in 1991. I had liked a lot of their singles but never sufficiently enough to buy an album, so a greatest hits album was the opportunity to have most of their best songs on one LP.

After their explosion on the the UK New Romantics scene in 1981 I was slightly disappointed to learn that their name was taken from a character from the film Barbarella rather than as a tribute to legendary Panamanian boxer Roberto Duran.

Even more disappointing was the exclusion of their second single "Careless Memories" from this collection, which I though was one of their really outstanding songs. However, it only reached a highest place of 37 in the UK charts.

The singles from their second album went global, thanks to a combination of the slick videos filmed in exotic locations such as Sri Lanka and Antigua, and the need of the fledgling MTV channel for videos to show. 

The slower paced "Save A Prayer" also demonstrated another string to their bow. "Rio" pre-dated the West Ham, Manchester United and England defender by at least 15 years but was never picked up upon by supporters during his career. Also, I don't think "Planet Earth" was ever used in the David Attenborough nature series.........

I think it is fair to say that with this LP being in chronological order nearly all my favourite songs were on side one, with a couple that I hated on side two, in addition to the final three songs for which I had no recollection of how they went. 

The first single "Planet Earth" starts with rising synths, not out of place from a 1970's outer space TV series, before Kraftwerk style electronic style rhythms enter to maintain a good beat. It still sounds as good as ever, and there can't be many better debut singles.

"Girls On Film" is actually about exploitation of models in the fashion industry, but you would struggle to notice from the spiky guitar riff and the sing-a-long chorus.  It's still a great song.

"Hungry Like The Wolf" continues a strong series of initial hits with "da do do da do do" backing vocal, a toe-tapping verse and more choppy guitar

"Rio" has a great intro and I had totally forgotten the smooth saxophone break.

The slower paced ballad "Save A Prayer" has a memorable synth melody and a great vocal from Simon Le Bon, "Don't save a prayer for me now, save it for the morning after". For me, it's their greatest song, but it only got to number 9 in the UK !

The pleading opening "Please, Please Tell Me Now" chant on "Is There Something I Should Know"  makes me think of the Beatles song "Please, Please Me", even though they sound nothing like each other. The song plods along quiet pleasantly but I don't like the "Please, Please Tell Me Now" bits.

The final track on side one, "Union Of The Snake" has a funk guitar reminiscent in parts of Orange Juice's Rip It Up ( both released in 1983 ), a good chorus, and more forgotten sax. For me, this song indicated Duran starting to move away from electro-pop into disco/funk, but I still like it.

Things start to go downhill at the start of Side Two. I quite like the funky verses of "The Reflex" but I absolutely hate the chorus, where the singing of lines like "Whhhhyyyy don't you use it" is just horrible, and just about unlistenable.  Furthermore, the parts of the song where Le Bon sings "The Reflex is a lonely child" etc now sound as being virtually the same melody as "The union of the snake is on the climb"........

I always thought "Wild Boys" was dreadful and nothing has changed in the meantime. I will grudgingly admit I can now listen to the instrumental parts but again the vocal is strained beyond Le Bon's range, and it is simply just dreadful. What do I know though ? It reached number two, and "The Reflex" was a number one !

"A View To A Kill", the theme song for the James Bond film of the same name was a slight return to form. There's a suitably dramatic intro, a smooth verse and a catchy chorus, "Until we dance into the fire, that fatal kiss is all we need", before a pleasing outro and ending.

"Notorious" further strengthens Duran Duran no longer being an electro-pop band, but it is funky and catchy, especially the  "No, no, notorious !" backing vocals.

Although I drew a blank looking at "Skin Trade" on the track listing, I remembered it as soon as it started playing. Much slower than the usual Duran songs, it features one of Le Bon's better vocals, almost falsetto in parts. There is also some brass, and overall it is quite good, and deserved better than number 22 !

"I Don't Want Your Love" though is an ordinary, sub-disco/soul/jazz number, with little to recommend it. and "All She Wants" is unfortunately not the Ace of Base song........

Overall, I had mixed feeling upon hearing this LP again. A handful of songs have aged well, "Notorious" and "SkinTrade" were much better than I recalled, but for a greatest hits album there are a number of songs that sound dated, and some that still astound me that they were so popular !

 

Track Listing :

Side One :

1. Planet Earth ( 1981 - No 12 )
2. Girls On Film ( 1981 - No 5 )
3. Hungry Like The Wolf ( 1982 - No 5 )
4. Rio ( 1982 - No 2 )
5. Save A Prayer ( 1982 - No 9 )
6. Is There Something I Should Know ( 1983 - No 1 )
7. Union Of The Snake ( 1983 - No 3 )

Side Two :

1. The Reflex ( 1984 - No 1 )
2. Wild Boys ( 1984 - No 2 )
3. A View To A Kill ( 1985 - No 2 )
4. Notorious ( 1986 - No 7 )
5. Skin Trade ( 1987 - No 22 )
6. I Don't Want Your Love ( 1988 - No 14 )
7.All She Wants Is ( 1988 - No 9 )

 

Released 1989
UK Chart Position : 5

 

Dr Feelgood - Sneakin' Suspicion

 

After their live album "Stupidity" was a surprise number 1 in the UK album charts, Dr Feelgood's follow-up album was eagerly anticipated, both for the new songs from guitarist Wilko Johnson ( real name John Wilkinson, and not to be confused with the English Rugby Union World Cup hero ! ) as well as the next batch of R&B classics to be covered. However, just before the new album was about to be released, news came out that Johnson had quit/been fired, depending on which source you read.

The music press reported that the split had arisen by the insistence of the other Feelgoods that Lew Lewis' "Lucky Seven" should be included on the album, although when we finally got to hear the song it was hard to see why they took this a stance over such an ordinary song, apart from perhaps some solidarity ( and potential royalties ) to a fellow Canvey Islander.

Matters looked even stranger when Dr Feelgood made their Top Of The Pops debut, but rather than play the single "Sneakin' Suspicion" they gave, an admittedly energetic, performance of the B-Side "Lights Out" rather than promote the Wilko composition.

The album was greeted with generally poor reviews, mostly along the lines that it was already consigned to history, with the focus on what the Feelgoods would do next without their song-writer. The fact that the producer of the album was Bert de Coteaux, an American with a track record in disco/soul didn't help and led to the accusation that the Feelgood's rough edge had been smoothed away. The album contained 5 Wilko compositions and 5 covers. 

The tour to promote the LP included a performance at the Crawley Leisure Centre, the first time the venue had ever been used to host a pop/rock gig, but the set-list was essential "Stupidity" plus the new covers, although "Sneakin' Suspicion" was also played. It was a great concert though !

I was disappointed with the album. Although there were a handful of highlights, there were also several ordinary songs, so it was going to be interesting to see how they sounded 45 years later.

Side One is by far the best side and opens with the title track. "Sneakin' Suspicion" was always the one stand-out song on the album. A mid-paced stomper with the trademark choppy guitar, slide guitar solo, a typically gruff vocal and piano increasingly prominent as the song progresses, it was the obvious choice for both the title track and the single from the album. It still sounds good.

Next-up is "Paradise", one of the two songs sung by Wilko. It's hardly typical Feelgood fare and almost psychedelic or even rockabilly. It the hands of a more versatile singer it could be great but Wilko's monotone delivery spoil this version for me. That said, some critics reckon this to be Wilko's finest ever song !

"Nothin' Shakin' ( But The Leaves On The Trees )" is the first and best cover, with the song having first being recorded in 1958. Lee Brilleaux gives a great vocal and harmonica, the bass and drum performances are probably the best on the LP, and there is an energy missing from many of the other songs.

"Time and The Devil" is the other song with a vocal by Wilko. It's almost a whimsical boogie and again features the slide guitar, there's more piano in the background and is perhaps the second best song on the album. Wilko sings "Time and the devil's gonna bring me everything I need", and as one reviewer at the time remarked, "Let's hope so !"

Side One ends with the frantic cover of "Light's Out" which has a great vocal from Brilleaux, and is one of the better songs on the album. It wouldn't be out of place on "Stupidity".

Side Two opens with "Lucky Seven" which actually sounds quite decent now, but could easily be part of the Chuck Berry back catalogue. It's followed by "All My Love", which is the least interesting Wilko song on on display here despite a nice guitar riff and solo and Lee gives the harmonica some gusto. 

The cover of Willie Dixon's "You'll Be Mine" is in the album filler category, a routine R&B song with very little originality to be make it memorable.

The highlight of side two come next. Wilko's "Walking On The Edge" has the trademark choppy guitar missing from most of the album, more slide guitar and another top vocal from Brilleaux.

The final track "Hey Mama Keep Your Big Mouth Shut"goes on too long and is a waste of vinyl.

Overall this was a better listen than I had expected, with a couple of songs sounding better now than I remembered. It was noticeable though that the bass was much lower in the mix than the previous Feelgood albums, and will never know how the change of direction hinted at in "Paradise" would have mapped out.

Track Listing :

Side One :

1. Sneakin' Suspicion
2. Paradise
3. Nothin Shakin' ( But The Leaves On The Tree )
4. Time And The Devil
5. Lights Out

Side Two :

1. Lucky Seven
2. All My Love
3. You'll Be Mine
4. Walking On the Edge
5. Hey Mama, Keep Your Big Mouth Shut

Released 1977
UK Chart Position : 10

Singles :

Sneakin Suspicion ( No 47 - 1977 )

Dr. Feelgood - Stupidity

 

Stupidity was one of the most unexpected number 1 albums in 1976. Despite critical acclaim, Dr Feelgood's first album "Down By The Jetty", in cricketing parlance, failed to trouble the scorers, and the follow-up "Malpractice" manage to lurk around the lower reaches of the album charts.

Nevertheless, thanks to constant touring around the UK, the Feelgoods had managed to build up a reputation for their tremendous live shows and were the only band to have properly broken out from the pub-rock scene to a level of mainstream recognition. They proudly flew the flag for Canvey Island.

Thanks to some clever marketing, to whip up enthusiasm for the new live album and then delaying its release, when the LP finally hit the stores the demand was such that Stupidity became the first ever live album to go to the top of the charts in its first week of its release in the UK. The Feelgoods were never to have it so good.

I would like to say I was there, but unfortunately this all past me by !

It was only sometime in 1977 that a school friend lent me his copy of the album, and don't tell anyone, I taped the LP and then played it constantly, trying to work out the lyrics. "Soda pop on the floor", "Got a whistling clover" etc, well, at least I think that is what he said !

It was only three or four years later that I shelled out for my own copy, which as the label states was £3.49 at Our Price Records, so it was probably when I was at College in Cardiff. However, Dr Feelgood were the second major band I saw live ( after Pink Floyd in Berlin on their Animals tour ) when they played Crawley Leisure Centre in 1977.

"Stupidity" is one of the rare albums where I can remember all of the songs on it, and remembered it as a truly outstanding album with only one duff track, and at most two ordinary songs, with the rest being from the top drawer.

Out of the 13 tracks present, 6 were covers of R&B classics, but the majority of the better songs were Wilko Johnson compositions, especially with "She Does It Right", "Going Back Home", "Back In The Night" and "Roxette" being outstanding, although the title track, "I'm a Hog For My Baby" and "Walking The Dog" giving them a fair run for their money.

The Feelgoods were unlikely looking stars. Lead singer Lee Brilleaux looked like a squadie dressed up for a rough evening, drummer The Big Figure and bass player John B. Sparkes looked like night club bouncers and guitarist Wilko Johnson strutted around like Frankenstein, so they were hardly pin-ups, but the energy and menace of the music drew the crowds.

Musically, they combined traditionally R&B with clever modern day lyrics that to some extent were the pre-cursor of Punk Rock, and according to some critics, Dr Feelgood were Punk's elder brother. Indeed, most of Punk's founder members expressed their admiration for Dr Feelgood at some point.

Side one, recorded in Sheffield in 1975, opens with Chuck Berry's "Talking About You", a short introductory number to set the tone with  driving bass, a choppy guitar and menacing vocal. It's quickly followed by one of only two songs where Wilko sings the main vocal, "20 Yards Behind", which has some of his trademark lyrics "There's so much confusion in the town when she's passing through, all the cars are going backward and the traffic light change to blue, I'm walking 20 yards behind her cos I am frightened about the damage she do". Brilleaux also delivers a harmonica solo which was famously described as "suck, blow, suck, blow", which fortunately was a reference to the musical playing !

The title track, Solomon Burke's "Stupidity" is up next, with a big build up, then becoming toe-tapping mid-pace number with some great guitar.

"All Through The City" has a great riff but a fairly ordinary tune, but makes reference to their Canvey Island beginnings -  "I've been searching all through the city, see you in the morning down by the jetty"

Bo Diddley's "I'm A Man" is the low point of the album, the second Wilko vocal, and plods on for over 5 minutes, and even Brilleaux's frantic harmonica can't save it.

The mood changes with a brilliant cover of Rufus Thomas' "Walking The Dog", waking up all those who had fallen asleep during "I'm A Man" "Mary Mary, quite contrary how does your garden grow, with silver bells and cockle shells and pretty ladies all in a row !" 

The side ends with the fabulous "She Does It Right", arguably Wilko's finest song, with perhaps his best riff and guitar solo, and a superb vocal from Brilleaux. It's hard to believe the single disappeared without trace, as it is possibly one of UK's finest R&B moments.

Second two, the Southend side, opens with "Going Back Home" jointly written by Wilko and Mick Green of The Pirates. It has a great rhythm section, a searing guitar solo and great Harmonica. "Got a brand new motor and I'm waiting for a loan, so I can fill her up and start her, then I'm going back home",

"I Don't Mind" is not to be confused the Buzzcocks song of the same name. It has more of the usual choppy chords and is the category of good, but not outstanding.

 

"Back In The Night" is another highlight of the album, featuring Brilleaux on slide guitar and more great lyrics eg "I got a girl a man's best friend, I'd have her now if she'd just come back again. But she left me in the fog, told me that I treat her like a dog.The last time that I saw her she was burying a bone. Got a six-leaf clover now I'm going back home"

 

Lieber and Stoller's "I'm A Hog For My Baby" follows and is a fun sing-a-long with a great bass line. It famously has a lengthy two note guitar solo from Wilko. Brilliant !

 

The cover "Checking Up On My Baby" is perhaps the album's other low point, not that there is too much wrong with it, but it is not as good as most of the other material on the LP.

The encore is "Roxette", their most well-known song at the time, and is apparently from where the Swedish pop-duo of the late 80's/early 90s and "It must have been love fame" took their name. Another song with driving bass, a choppy riff, harmonica and a growling vocal with menace. 

 

There's more great lyrics from Wilko "Roxette, I gotta go away and leave you for a couple of days. Roxette, I don't want no more of your tricks. I'm gonna get some concrete mix and fill your back door up with bricks, and you better be there waiting when I get my business fixed".

 

In conclusion, nearly 40 years later, Stupidity remains a fantastic album, and their can't be many live albums better than this.

Track Listing :

Side One :

1. Talking About You
2. 20 Yards Behind
3. Stupidity
4. All Through The City
5. I'm A Man
6. Walking The Dog
7. She Does It Right

Side Two :

1. Going Back Home
2. I Don't Mind
3. Back In The Night
4. I'm A Hog For You Baby
5. Checking Up On My Baby
6. Roxette

Released 1976
UK Chart Position : 1

Dollar - The Dollar Album

 

When the question of the most embarrassing album in your collection comes up, my instinctive reaction is to point at my Dollar album. It’s true at college this LP used to be well hidden below my Stranglers, Jam, Cure and plenty of other trendy punk/new wave albums at the time.

Dollar were formed as an offshoot of Guys And Dolls, a cheesy three girl/three boy line up that made The Brotherhood of Man seem edgy, and when Thereza Bazar and David van Day split to form Dollar it initially seemed to be a recipe of more of the same.

However, the release of the ballad “Love’s Got A Hold Of Me” featuring the soft, fragile vocal from Thereza rather than the dominant vocals from Van Day was an eye-opener, and hinted that there was something promising lurking under the surface.

After a couple more throw-away singles, Dollar teamed up with ex-Buggles song-writer/producer Trevor Horn, who contributed four songs to their third LP, and also brought along Bruce Woolley ( ex-Buggles ) and Anne Dudley ( who went on to work with a whole cornucopia of artistes from ABC, Lloyd Cole, Elton John, Paul McCartney, Rod Stewart and Wham amongst others ).

The result was four stunning singles from the pop/synth, vaguely new wave genre, all of which charted in the UK Top 20, after which Bazar and Van Day then recorded additional material to complete an album. This produced another hit single and several other songs which remained in my consciousness, and looking at the track listing, there was only two songs I couldn’t remember.

My copy of the LP still had a £5.99 sticker on the cover from Our Price.

The track listing of the album was structured so that the strong Trevor Horn songs were to the fore on each side. Therefore, side one begins with “Mirror Mirror ( Mon Armour )” the second single from the LP. A mid-tempo song, lyrically it could be David declaring his love for himself " I've been looking at you you've been looking at me, And I want you to know that I like what I see" !

The second song is for me, the most memorable on the whole LP, as again Thereza had a rare prominent part on “Give Me Back My Heart” especially in the coda, which gives the song an almost heavenly feel. Starting as a slow ballad with a catchy chorus, there is an urgent piano break before the pace almost comes to a halt. However, it is just temporary before launching into the soaring finale.

“Hand Held In Black And White” was the first single released and is another fine example of electronic/dance pop, and has a great bass line submerged beneath the synths and piano." On a ticket Tokyo return, colour evening palaces that burn"

Written by Theresa, the dreamy "Pink And Blue" shows Dollar were not totally reliant on Trevor Horn material as it has one of the strongest hooks an the whole album,

Van Day's "I Got Your Number Wrong" continues the formula of a slow verse followed by a big chorus, and whilst suitable for a bland Saturday Evening family entertainment show, there is nothing memorable about it.

"Guessing Games" has an electronic beat intro similar to New Order's Bizarre Love Triangle but its the strong chorus that takes the track out of the mundane. "Tell me why your face won't fit the frame, its not a guessing game." 

The Van Day/Bazar "Give Me Some Kinda Magic" opens side two which again has the slow verse/big chorus and was the one non-Trevor Horn hit from the album. It also has a great synthesizer break before another big finish "You give me some kinda magic, and I don't wanna lose my hold on you"

"Videotheque" is as far away from cheesy pop as it is possible for electronica to get, bold, confident and futuristic. Duran Duran, Ultravox, The Pet Shop Boys and their ilk would have been proud to have released this song. Bucks Fizz eat your hearts out ! "At the videotheque we can dance forever......Ghosts are only lovers on the screen"

"Dangerous Blondes" is very much an album filler, a little silly and whilst inoffensive, instantly forgettable.

"You Made Me Love You" is another slow ballad, it's quiet nice, whereas "Anyone Who's Anyone" is a lively toe-tapper with a strong hook "Had a date last night, now I've got me a brand new boyfriend"

The LP closes with "The Second Time Around", which is perhaps the only dud track out of the 12 on show here.

Overall, The Dollar Album remains a very good album from a seriously under-rated duo.

Track Listing :

Side One :

1. Mirror Mirror ( Mon Armour )
2. Give Me Back My Heart
3. Hand Held In Black And White
4. Pink And Blue
5. I Got Your Number Wrong
6. Guessing Games

Side Two :

1. Give Me Some Kinda Magic
2. Videotheque
3. Dangerous Blondes
4. You Made Me Love You
5. Anyone Who's Anyone
6. The Second Time Around

Released 1982
UK Chart Position : 18

Singles :

Hand Held In Black And White ( No 19 - 1981 )
Mirror Mirror ( Mon Armour ) ( No 4 - 1981 )
Give Me Back My Heart ( No 4 - 1982 )
Videotheque ( No 17 - 1982 )
Give Me Some Kinda Magic ( No 34 - 1982 )